Beruflich Dokumente
Kultur Dokumente
By
William Wrobel
2
passage (initially playing the carillon/chimes pattern accelerated as 16th notes and in
staccato fashion). The cue ends with the tutti chordal, maestoso pronouncement and
clarity of the D major sonority.
3
The Main Title cue (M-10) of HGWT had 6122 originally inserted but later altered to
6222. The third cue, The Street (M-12), was originally marked as 6124 but later
changed to 6224, and so forth for all the cues except for The Holster cue which kept the
original 6127 bold numbers on the top of the page. Apparently the CBS Music
Librarian or recording supervisor forgot to change it over to 6227.
The significance of this is that the Ethan Allen Main title cue has the number
6172, suggesting that the score was either written and/or recorded later than HGWT. It
is surmised that HGWT was written first, although probably only a month or two prior to
Ethan Allen. Another suggestive evidence is that a cue from HGWT was used in a
Gunsmoke episode, Man Who Would Be Marshall (airdate 6/15/57) prior to the airing
of the HGWT pilot show that following September 19th at 9:30pm, whereas no known
Ethan Allen cue was used prior to September (new Fall season, or CBS-TV Music
Library VIII). As a side note, the first use of the CBS-TV Music Library was VII
(generally the Fall 56-Spring 57 season). The CBS Music Library I through VI was
principally involved with CBS radio since no Log Books exist for CBS-TV prior to
Music Library VII.
As I will elaborate when I discuss Herrmanns Climax cues in Section 5, there
are no official Music Library cue numbers designated for both the HGWT score and the
Ethan Allen score cues. Cue number refers to the numbering system employed by the
CBS-TV Music Library of stock music meant to identify a specific written cue. The
earliest Herrmann-scored cue (under that system) is cue # 215, Climax Prelude. For
some reason (perhaps because HGWT and Ethan Allen were scores for pilots), no official
cue numbers were designated both on the written cues and in the Log Books. Standard
reel locations were utilized, however. For instance, The Main Title of HGWT was
designated at M-10, or reel 1, part 0. The Fight cue was designated as M-25 or reel 2,
part 5. The next cue was The Return, designated as M-31 or reel 3, part 1.
Here is the complete list of cues:
M-10 Main Title
M-11 Closing Title
M-12 The Street
M-14 The Newspaper
M-15 The Card
M-16 The Holster
M-17 Travel
M-25 The Fight
M-31 The Return
M-32 The River
M-33 The Rocks
M-35 Capture
M-37 End Tag
M-38 Reunited
There is no written episode title Three Bells To Perdido notated on the score
itself, simply HGWT in capital letters. The Main Title I section (allo modto in 2/4
time) is the opening cue of nearly 23 seconds. On the television screen, you see the
silhouette (side profile) of Paladin (played by Richard Boone) who then draws his black
pistol, cocking it, and making an opening statement (a different statement for each
4
episode). Main title II seques with the quarter note attack chords played ff (fortissimo)
pesante. The CBS-TV Music Library describes this in the Library VIII log book, Reel
58-C (Dramatic And Anthology Main Titles): Heavy staccato brass groups to long
suspense tail. This description is interesting because the quarter note chord punctuations
are not marked staccato on the written score, but pesante [heavy and forceful] and also
rinforzando-marked [accented]. So apparently the individual in the Music Library who
wrote such descriptions of cues usually based them on aural and subjective impact, not
necessarily by reading the actual written score. The first punctuation chord is the
Dmin/9th (added 9th) or notes D/F/A/E. You can read a detailed analysis of this score in
my Film Score Rundowns site (a site initiated, with my deepest gratitude, by the
webmaster, Matt Gear).
The CBS-TV Library VIII log book also states that Cuts 1 through 9 [note:
indicating Main Titles, End Titles, Middle Tags and Lead-Ins] Restricted thematic
material for use in Have Gun Will Travel only. Later, Rene Garriguenc (a frequent
contributor to the CBS-TV Music Library whose music is often confused with
Herrmanns) would make various arrangements of the HGWT Theme incorporating
woodwind and string choirs besides the original brass groups (which Herrmann only
utilized).
Starting in the second season of this popular series, the End Title credit music of
Herrmanns (used in the first season) was replaced with The Ballad of Paladin song by
Johnny Western (also sung by him), Richard Boone and Sam Rolfe. Library IX Log
Book, Reel 58-D-Seven (Have Gun Will Travel) describes many versions and takes of
this song, many of which were never heard on the air. For example, version G, take 2
states: :00-:26 relaxed western melody on accordion over slow guitar chords; :26-1:05
vigorous guitar accompaniment under single line accordion melody line; to fade.
The entire score is located in Box 187 in the CBS Collection 072 at the UCLA
Music Library Special Collections. The contact librarian is Timothy Edwards, (310) 824-
1665, or email (tae@library.ucla.edu).
5
The Ethan Allen score has the distinction of being almost in the category of
resembling a sketch score. It is written in pencil (unlike HGWT and all of his feature film
and concert scores) and rather sloppily or hastily, which is quite unlike Herrmann
normally. At some spots, the penciled notes are barely readable, cues written in the range
of one to four staves (one stave for a timp solo cue).
The Ethan Allen Main Title (M-12, take 3, :16) is only five bars in length, more
like a simple fanfare than a Main Title. Maestoso in 9/8 meter, the horns play sfff (very
strong and loud accent) the small octave register Eb 8th [written Bb a perfect 5th higher
but transposed here to concert pitch] up to the A quarter tied to dotted half notes. In Bar
2, the horns repeat Bar 1 but now in stopped fashion ( the + sign above notes). In Bar 3
(not stopped), we find the Eb 8th to A quarter tied to dotted quarter notes up to the C
dotted quarter note down to (Bar 4) the F# (back to the stopped effect) dotted half note
tied to dotted quarter and tied to (Bar 5) the dotted half to quarter notes (held fermata).
The timp concludes the cue sff on the G 8th to G quarter to G 8th beats to the G trill roll.
The CBS-TV log book describes this cue as Slow dramatic brass to timpani roll tail.
The longest and most distinctive cue is The Jail, 74 bars in length, 2:48 in
duration. Lento assi in C time, we first hear the timp playing sempre pp a four-note
ostinato throughout the entire cue. It comprises of descending quarter notes D-Bb-Gb
back to Bb. In Bar 2, three sordini (using cup mutes) Pos play pp the G minor (G/Bb/D)
whole note triad to (Bar 3) the G minor half note triad to the Eb minor 1st inversion
(Gb/Bb/Eb) half note chord back to (Bar 4) the G minor whole note chord, with the cres-
desc hairpins symbols under Bars 2-4. In Bar 6, sordini horns play octaves (octave
apart) D (d, d) whole notes to (Bar 7) the Bb up to Eb half notes back to (Bar 8) the D
whole notes. In Bar 10, trumpets in cup mutes play the three-passage starting with the E
minor (E/G/B) whole note triad.
Most of the original tracks were included in the Cerberus Records LP (CST-0209)
that featured the original tracks to most of HGWT and The Western Suite.
(5) Climax
Herrmann next composed for CBS-TV a collection of four short cues under the
heading of Climax. Ostensibly, Herrmann composed the following cues for the
1957/1958 final season of Climax, a CBS dramatic anthology series:
6
It is possible that he did not write them exclusively for that show since there is
some confusion as to the dual titles of the cues (Climax and Climatic). While the
Climax Prelude and Climax Closing were not used in the series that season (the few
episodes that this author was able to hear), these cues were nevertheless used several
times by the Music Editor as track music for certain episodes of HGWT and Gunsmoke.
Gene Feldman was the Music Editor for CBS whose job was to insert appropriate mood
music cues or fragments of cues into scenes of series episodes that did not contain
original music commissioned specifically for such episodes. Hence the term stock
music, referring to previously composed music held in their stock or inventory of music
used when necessary to fit the scene of an episode where music is desired.
As given earlier, the CBS Music Library usually assigned official cue numbers in
their Log Books, also inserted directly on the written cues themselves. The CBS-TV
numbering system of cues began with Library VII (roughly the 56/57 season). The
Climax cues were the first cues composed by Herrmann that were assigned such official
cue numbers.
The Climax cues were written in pencil on beige blank score paper. Climax
Prelude was used in HGWT episodes such as Young Gun (11/8/58) and Treasure
Trail (1/24/59), and in Gunsmokes Buffalo Man (1/11/58). Largo in C time, the
cues instrumentation comprises of three Bb trumpets, 4 horns, 3 Pos, tuba, and a timp.
The timp beats sff the Bb down to G 16th notes. Then the brass plays a polychord
dissonance with the trumpets on G minor (G/Bb/D), horns on Ab minor (Ab/Cb/Eb) and
the trombones (written Pos) shortly playing the C minor triad (C/Eb/G) in a frenzied
odd triplet 16th rhythmic pattern. Then the music settles down in Bar 4 as the trumpets in
cup mutes are sustained on the F# minor triad (F#/A/C#) while the stopped horns play the
G min 8th note chord separated by 8th rests. Soon the trombones are sustained on the F#
minor while the trumpets play the D minor (D/F/A) 8th note triad punctuations (separated
by 8th rests).
The so-called Indian Suite (as labeled in the Cerberus LP albumCST-0207, along
with the original tracks to Western Saga and The Desert Suite) was written sometime in
the late spring and early summer of 1957, recorded in July as Foreign Library material
(performed and recorded in Europe or Mexico).
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#221 Echo III 8-56-C2 Box 2
8
Ambush, Echo [Echo IV], Indian Signals, and Indian Fight. However, the
private issue LP< The TV Music of Bernard Herrmann (CSR-301), Side Twos Suite
for TV Themes includes The Journey cue from Indian Suite.
Incidentally, Echo I was self-borrowed by Herrmann from cue II of the Doctor
Webster radio episode (7/13/53) of Crime Classics.
#363 V Clues ?
#367 IX Closing In ?
9
Library attributed to this score and others that summer (such as the so-called Western
Saga and Western Suite cues).
The first set of cues (#359 A-H) are Openings, cues varying from only six to ten
bars. They are marked on the score as being recorded July 1957, Munich, CBS VIII, 43-
B, 44-B, 46-B. Middle Tags (#360 A-D) were recorded in Munich as well, but cues E
through H were recorded in Rome (as well as Lead-Ins). Closing Tags, Clues, and
Line Up were recorded in Munich. Several cues were not marked as to recording sites.
Many of these cues were tracked in CBS series such as the detective/lawyer show
Perry Mason, but also quite often in HGWT and Gunsmoke. Openings and Lead-Ins
were especially used frequently. The full-length cue, Rundown, was used nearly intact,
for instance, in a HGWT episode The Singer (airdate 2/8/58), and Night was used in
the episode OHare Story (airdate 3/1/58), and about half of Clues was tracked in the
Perry Mason episode, Case of the Nervous Accomplice (airdate 10/5/57). Several
Police Force cues were apparently never or rarely used, such as Line Up, Closing In,
The City, and Police Van (Finale).
The instrumentation of all the cues are, once again, 3 trumpets, 4 horns, 3 Pos,
tuba, and a timp. Cue VII Rundown (#365) is described in Library VIII, 51-D-Two as
Staccato, persistent brass, for chase or fight. Allegro in C time, it is a frenzied motion
piece utilizing quickly alternating dissonant triadic chords to convey stress and agitated
action. In Bar 1, Pos sound sff the F# minor (F#/A/C#) rinforzando 16th chord (followed
by a 16th and an 8th rest) played four times that bar. After a 16th rest, horns I, II, III play
three G minor (G/Bb/D) 16th note chords, played 4X in Bar 1. In Bar 2, the Pos play the F
minor (F/Ab/C) 16th chord played 4X. The horns again sound the response figures in Ab
minor (Ab/Cb/Eb). Bar 3 = Bar 1. Then, in Bars 4-6, the tuba and timp take over the Pos
line with the bb 16th played 4X, while the sordini trumpets play the horns line (three 16th
note chords played 4X followed by a 16th rest) starting on the Ab minor triad, then the F#
minor.
Night is one of the few slow full-length cues. The CBS Log Book VIII, 56-A
(under the Suspense Bridges and Backgrounds designation) describes the cue as Soft,
suspenseful brass and tymp. Middle section crescendos with light agitato brass. Returns
to quiet brass suspense, 3:16. Sordini Pos and horns play pp the D whole note crescendo
to (Bar 2) the C# half note (Pos) and Eb half note (horns) back to unison D half note.
Then the tuba and Pos play that pattern for two bars, followed by the horns and sordini
trumpets.
Clues is described in the CBS Log Book as Continuing high then low brass
figure over heavy and dark moving brass with somewhat plodding feeling; tense
suspenseful includes foghorn effects, 3:14. Modto in C time, sordini trumpets and
sordini Pos play an ostinato pattern. Trumpets play pp two G minor (G/Bb/D) 8th note
triads (each followed by an 8th rest) then followed by a half rest. After a half rest in Bar
1, Pos respond with two Ab minor (Ab/Cb/Eb) 8th note triads (each separated by an 8th
rest). Repeat this pattern of the trumpets and Pos through Bar 8, and then reverse the
chord placements in Bars 9-19 so that the trumpets first play the Ab minor and the Pos
follow with the G minor 8th note chords. In Bars 3-7, the sordini horns and tuba play pp a
rising to falling pattern of half notes, E-F to (Bar 4) F#-G to (Bar 5) Ab-G to (Bar 6) F#-F
to (Bar 7) the E whole notes. The timp beats two E up to two Bb 8th notes in Bars 7 and
8.
10
(8) Western Saga
11
four horns play mf crescendo the G [written D a perfect 5th higher] quarter note up to
(Bar 2) the C dotted half note. After a quarter rest in Bar 2, the tuba and Pos I and II play
a response dyad figure of F/A quarter notes to E/G half notes (tuba plays F to A as Pos
II). Horns then play the D quarter up to (Bar 3) the E dotted half note. Pos/tuba respond
(after a quarter rest) with the F/A quarter note dyad to the G/B half note dyad.
The Canyons is another cue which was self-borrowed from Billy Bonny
Bloodletter (cue IX). Modto in C time, open trumpets play ff the C (c) /G/C (c)
quarter note chord to E/A/E half note. Repeat next bar. After a half rest, the timp beats
forte the F quarter note (repeated next bar).
The Watching was tracked to great length in the Gunsmoke episode, Blood
Money (airdate 9/14/57), and the HGWT episode Young Gun (11/8/58). Largo in C
meter, the timp beats pp a repeated F# quarter note (4X per bar through nearly the end of
the cue). In Bar 2, horns play p crescendo lowest (Great Octave register) Bb whole note
to (Bar 3) the C# whole note (in stopped fashion, the + symbol above the note). In Bar 4,
sordini Pos play the Bb augmented (Bb/D/F#) whole note triad tied to whole notes next
bar, descrescendo. The tuba joins in Bar 5 playing the D whole note to (Bar 6) the C#
whole note Great Octave register (or two octaves below middle C). In Bar 7, sordini
trumpets play pp crescendo the G minor (G/Bb/D) whole note triad crescendo to (Bar 8)
the F# minor (F#/A/C#) whole note triad, descrescendo.
12
Cue I (Night Suspense) was recorded in Paris (as notated directly on the cue), as was
cue II (Bad Man) and probably all of the cues (only a few cues had no indication). Part
of the score was written in pencil (for example, Rain Clouds) and others in ink (for
example, Dramatic I). The cue Dramatic I (as written by Herrmann) was also labeled
as Prelude in the Have Gun Will Travel Cerberus LP CST-0209. The LP included all
of the cues from the suite except three: Night Suspense, Shadows, and The
Waiting.
A definite distinction between this suite and the other suites discussed so far (such
as Police Force and Western Saga) is the new instrumentation: woodwind, timp, susp
cymbal, and harp. Woodwind includes 3 flutes, 3 oboes, 3 clarinets, 1 bass clarinet, 2
bassoons (designated as Fags by Herrmann, as customary), and contra bassoon
(C.F.).
The music from this suite was tracked quite extensively in the late Fifties to mid-
Sixties for various CBS series. Night Suspense, for example, offered moody suspense
music (especially night scenes, as can be expected) in the Gunsmoke episode Jokes On
Us (airdate 3/15/58), and in a Twilight Zone episode One For The Angels, starring Ed
Wynn out-witting Mr. Death. The CBS-TV Music Library VIII Log Book on Reel 56
(under the Suspense Bridges and Backgrounds section) describes the cue as follows:
Soft largo neutralsuspense; soft woodwind over tymp and harp, 4:35.
Largo in meter, clarinets and bass clarinet play pp the Eb major 1st inversion
(G/Bb/Eb) quarter note chord to the F# major 1st inversion (F#/A/D) half note chord to
(Bar 2) the Db maj 1st inversion (F/Ab/Db) quarter note chord to the C dom 7th third
inversion (Bb/E/G/C) half note chord (clarinets playing the C major; the bass clarinet
adding the Bb note). In Bar 3, the timp softly beats pp the Bb dotted 8th to Bb 16th to the
Bb half note trill roll. After a half note rest, the harp plucks mf the Contra Great octave
register Bb acciaccatura (grace note) up to the Great Octave Bb quarter note (Let vibrate).
The Waiting was tracked many times as well. In HGWT, it was used in Young
Gun (airdate 11/8/58) and The Long Hunt (3/7/59), and in Perry Mason in The Case
of the Silent Partner. Largo in C time, the flutes play pp the F# minor (F#/A/C#) to A
minor (A/C/E) half note chords to (Bar 2) the Ab minor (Ab/Cb/Eb) note chord, cresc-
desc. The bass clarinet plays the F whole note, establishing the total F half-diminished
7th (F/Ab/Cb/Eb) chordal tonality. The susp cymbal is rolled a whole note pp, and the
harp plays descending quarter notes both Lines 2 and 3 Eb-Cb-Ab-F.
The outstandingly atmospheric Dark Valleys cue was self-borrowed from the
Crime Classics episode, Good Ship Jane, cue II (2/24/54). Lento in Cut time, the susp
cymbal is rolled pp throughout the length of the cue. The flutes play pp the G minor
(G/Bb/D) whole note chord tied to whole notes next two bars. In Bar 2, the harp plays a
descending arpeggio of 8th notes Line 2 register Bb-Gb-Eb-D (d), Bb-Gb-Eb-D (d)to
(Bar 3) Bb-Db Eb-D (d) to Bb-Gb-Eb-D (D). In Bar 4, the clarinets in the richly warm
chalumeau register play the Ab minor (Ab/Cb/Eb) whole note triad tied to next two bars.
Then the harp in Bar 5 starts its descent of Line 3 C-A-F-E notes. In Bar 7, the flutes
return with the A minor (A/C/E) whole note chord through Bar 9, and the harp in Bar 8
starts its descent of 8th notes Db-Bb-Gb-Eb.
13
#554-2 II Mirages 8-56-D5 Box 8
14
play the F# major (F#/A#/C#/F#) whole note chord. Most of this cue was used to great
effect in the Gunsmoke episode The Cabin (2/22/58).
As given earlier, Sandstorm was tracked frequently within many CBS western
series such as in the excellent HGWT episodes Treasure Trail (1/24/59) and The Fifth
Man (5/30/59). The CBS Library IX, Reel 51 under the classification Western Bridges
and Backgrounds and Western Curtains describes the cue in four parts:
Part 1, soft ominous brass grow to full chord, 1:07. Part 2, slow heavy brass, :30.
Part 3, brass punct. To dark brassy motion, :15. Part 4, dark heavy dramatic brass, :53.
Modto in C time, the timp is trill rolled pp on whole note F tied through Bar 3,
gradual crescendo to mp. Pos in cup mutes play the Bb augmented (Bb/D/F#) whole note
chord tied to Bar 3, pp < mp. The tuba plays Bb as does Pos III. In Bar 2, the sordini
horns join in with the F half-diminished 7th (F/Ab/Cb/Eb) whole note chord tied to Bar 4.
In Bar 3, the trumpets in cup mutes play pp < mp the B minor (B/D/F#) whole note chord
tied to Bar 5. Bars 6-10 repeat the first five bars but the volume dynamics is increased (p
< mf). In Bars 11-15, once again Bars 1-5 are repeated but further increased in crescendo
(mf < f). In Bars 16-20, we find f < ff.
15
the ASCAP search site (http://www.ascap.com/ace/search.cfm?requesttimeout=300) of
Herrmanns credits of a show he worked on titled Race For The Moon for CBS. It is
possible that Herrmann was commissioned to write a series of cues for a special show on
the space race. Several other composers were also involved: Elmer Bernstein, Jerry
Goldsmith, David Raksin, and Arthur Morton. At any rate, Herrmann wrote the Outer
Space Suite, even if it had no direct connection with the Race For The Moon special.
However, he cannot take sole credit for the thematic nor instrumental source of
the Outer Space series of cues. That is, at least a few of the six cues prior to his
involvement (starting with cue #1007) is thematically Outer Space related. Cue #1001 is
titled Spoutnik No. 1 by Guy Luypaertz, also recorded in December, 1957. He also
composed cue #1002, Spoutnik No. 2. These cues set the standard of instrumentation
since Herrmann used the exact same instrumentation: 3 flutes (3 piccolos doubling), 3
oboes (2 english horns doubling), 3 clarinets (bass clarinet doubling), 3 bassoons (contra-
bassoon doubling), harp, and celeste. Evidently Herrmann felt the need to conform to the
previously set orchestral guideline for his own contribution.
Cue # 1003 by R. Challon is titled Au Crespuscle (roughly translated as
Twilight) and cue # 1004 Songe (translated as Dream). They were recorded on
Reel 66 (designated under the classification of Space Music and Fantasy) as were all of
the cues from #1001 through #1018. Maurius Constant wrote cue # 1005 Light Rain
and # 1006 Brouillard (translated as Fog). The CBS Log Book for Reel 66 describes
the latter as fragmentary flutter-tongue duets between various woodwinds. Celeste joins
in. 1:20. A faster version was recorded at 1:05 duration. Light Rain was described as
agitated harp pedal continues 2:06 under fragmentary woodwind phrase; pyramiding
dissonant chords. In his cues, Herrmann also employs the use of flutter-tonguing, as well
as several harp effects (glissandi, arpeggios, arpeggiandos, but no pedal gliss).
Herrmanns written score is another candidate (as in his Ethan Allen score) for
appearing as a sketch score. It was written in pencil, and rather sloppily or quickly. For
example, bar lines are made without a ruler or any straight edge; note stems are clumsily
written, especially in 8th note arpeggio figures of the harp and Celeste, and so forth.
Herrmann did not autograph his score. Instead, someone else wrote a misspelled
B. Hermann on the top right end of the title page of each cue.
A full cue rundown of this score is available at the Film Score Rundowns site.
16
Unfortunately, no cue titles are given to help indicate which episode. Only the title
Stars Billing was attached to the second cue,A pt IA. That cue is only six bars in
length, and basically each bar was meant to highlight an actor on the screen so that you
hear a progression of chords (played dramatically sfp crescendo to ff) first on E minor,
then G major, A minor, C major, D major, and finally the higher octave E minor.
Cues A pt II and A pt III foreshadow some of the later Twilight Zone scores,
especially Eye of the Beholder with the use of the brass and arpeggiated contrary
motion of the harps. In Bar 1 of the latter cue (allegro mod in C time), harp I plays the C
half-diminished 7th (C-Eb-Gb-Bb) descending 16th note arpeggios starting Line 3 register
notes Bb-Gb-Eb-C, Bb-Gb-Eb-C, down two more octave ranges, then ascending in Bar 2.
Harp II plays ascending C half-diminished 7th arpeggios starting on the Great Octave
register notes Gb-Bb-C-Eb to small octave register Gb-Bb-C-Eb, up two more octave
ranges, then descending in Bar 2. This is repeated 3X through Bar 8. The vibe strikes
softly pp descending quarter notes Line 2 register Bb-Gb-Eb-C, then back up to (Bar 2)
Gb-Eb-C-Bb. In Bar 3, the Pos and tuba play molto legato and pp (piannissimo) Bb to C
half notes to (Bar 4) Eb half note to triplet value F half to Gb quarter notes to (Bar 5) the
Bb whole note. The phrase concludes starting in Bar 6 as the Pos and tuba play the C (c
for Pos; c for tuba) to Bb half notes to (Bar 7) the Gb half note to triplet value F half to
Eb quarter notes to (Bar 8) the C (c, C) whole notes. Then harp I is arpeggio on F#-B-
C#-D while harp II is arpeggio on B-F#-D-C#. The horns take over the six-bar phrase
previously played by the Pos and tuba. Then in Bars 15-20, the solo trumpet (with mega
mute) picks up the phrase while the harps are back to the half-diminished 7th arpeggios.
(13) Landmark
Next Herrmann composed two cues titled Landmark Opening (cue # 1281) and
Landmark Finale (cue # 1282). The last track of the Cerberus LP CST-0210 (Bernard
Herrmann: Music For Radio and Television) features this cue (1:38 in duration).
Richard Jones wrote liner notes as follows: To close, we feature Herrmanns version of
a main title for a proposed documentary series entitled Landmark. Its a driving,
militaristic piece for brass, snare and tympany, and makes a rousing finale for this
album.
The Library IX Reel 58-D-One Log Book pages describes the Landmark
Opening as: Military drums to crash chord. The Landmark Finale is described:
Vigorous, intense military end title for percussion and brass to big tail. The music was
tracked several times, including the Playhouse 90 episode, The Plot To Kill
Stalin(9/25/58) starring Melvyn Douglas, E.G. Marshall, and Eli Wallach.
The written score has unfortunately not been located as yet in the CBS Collection.
17
#1287 The Cellar 9-56-1 ?
18
CBS VIII, 56, # 455 The Ambush (B. Herrmann) 2:55
CBS VIII 56, # 456 Travel I (B. Herrmann) 3:30
CBS IX, 46-A, #1210 Shock Therapy # 1 (Rene Garriguenc) 2:50
CBS XI, 78-E9, # 2149 Carlton Hotel (F. Steiner-L. Moraweck) :26
Herrmanns two Collectors Item cues (The Glass and The Discovery) were
also used in that episode of Gunsmoke (prod # 1615), although the specific episode title
was not listed. Reference was also made that on 2/15/65, Herschel Burke Gilbert was the
conductor who re-recorded those various cues, starting at 4:46 pm. However, another
reference states on the score itself that a re-recording was made on 12/23/64.
In the Cerberus Records LP (Bernard Herrmann: Music for Radio and
Television), nine of the fifteen cues are presented, including The Glass and The
Discovery.
Instrumentation: Flute, oboe, 2 clarinets (bass clarinet doubling), bassoon (Fag),
3 horns, 3 tpts, tuba, timp, vibe, and harp. The Dicovery (18 bars, :47) was originally
within Reel 3 Pt I of the Collectors Item, but this reproduction page had the date
12/23/64 inserted on the top of the page. Modto in time, the flute and oboe play forte
the Line 2 register D (d) dotted half note, descrescendo (repeated next bar). The
bassoon plays Line 1 D (d). Two clarinets play in the chalumeau register the Gb/Bb
quarter note dyad to the Ab/Cb half note dyad. In Bar 2, the vibe strikes forte on the
D(d)dotted half note. In Bar 4, it returns with the E dotted half note. The cue steadily
rises in both half and whole tone progressions in this pattern until Bar 15 when the
stopped horns sound sff Line 1 register Eb minor (Eb/Gb/Bb) grace note chord to the
dotted half note chord. The trumpets in cup mutes respond in Bar 16 with the F# minor
(F#/A/C#) quarter note chord to the Eb minor half note chord. Horns return an octave
lower in Bar 17 playing forte the F# quarter note chord to the Eb minor half not chord.
The trumpets conclude with the F# minor dotted half note chord held fermata, crescendo-
descrescendo.
(15) Pursuit
In late August of 1958, Herrmann next composed two Pursuit cues (both listed as
# 1473), Pursuit Opening Theme and Pursuit Closing Theme, CBS IX 58-E, located
in Box 16 in the CBS Collection. Curiously, the cues were first titled Perry Mason
Theme (Opening) but Perry Mason was crossed out with one horizontal line,
substituted with Pursuit. The same occurred with the Closing Theme.
Pursuit was another dramatic anthology show for CBS which lasted only half a
season, 10/22/58 1/14/59, Wednesdays 8:00 9:00 pm.
Written in pencil on beige score paper, the Pursuit Opening Theme was written
8-25-58, yet the Closing Theme was written in pencil on green score paper on 8-15-
58. This is rather strange since the first sixteen bars of the Closing Theme are coma
sopra the Opening theme. Incidentally, Herrmann penned his signature on the Closing
theme in red ink.
The Library IX, Reel 58-D-3 Log Book, item 13 states: 1473, pt 1, t. 3 Pursuit
Theme B.H. :09, stately staccato brass figure to dark unison tail. Curiously, item 19
states: 1473(part 3)(take 1), intense lyric dramatic main title for full orchestra; strong
sense of motion, to muted horn tail, :31.
19
Actually, the full orchestra comprises of the full use of the following
instrumentation: 3 trumpets, 4 horns, 3 Pos, tuba, and timp. There are various takes and
various speeds, ranging from :31 to :44 in duration. The Opening title is 21 bars in
length; the Closing title is 31 bars.
Allegro con brio (molto marcato) in C time, the brass play sff two rinforzando B
minor (B/D/F#) quarter note chords (followed by an 8th rest) to the B min 8th note chord
to 8th note triplet chords to (Bar 2) in the same pattern except that on the last (4th) beat are
two 8th note chords rather than the triplet chords. The cue ends with the sff > pppp
(Lunga) horn tail mentioned earlier on the B whole note held fermata.
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Herrmann next worked on the pilot episode for an unusual dramatic anthology
series created by Rod Serling, The Twilight Zone. Eighteen cues were written, including
the series Theme cues. Neither the autograph score nor a fully orchestrated reproduction
was ever found in the CBS Collection to date. Only an inadequate handwritten (not by
Herrmann) piano reduction type of score was available in Box 17. However, the
Twilight Zone Theme and T.Z. Credits (#1561- and #1561-A respectively) fully
autograph cues were found in Box 95. Instrumentation: Flute, oboe, English horn, 2
clarinets, bass clarinet, 4 horns, 2 harps, vibe, 6 vlns, 2 violas, 2 celli, 2 basses.
The Twilight Zone Theme is 14 bars in length, :40 in duration. The CBS
Library X Log Book, Reel 58-D-Three (under the classification Dramatic & Anthology
Main Titles: Restricted Thematic Material) describes this cue as follows:
(1) Twilight Zone Theme, Bernard Herrmann; soft strange unworldly Bg; builds
to dark chord to tail, :34
(2)1561 (take 3) Ditto. :34
(3) 1561 (take 1, long vers) Ditto-extended, :51
(4) 1561 (take 2, long vers) Ditto-further extended, 1:09.
Lento in C meter, the theme is basically a steady two-chord repeated transition of
the Eb minor (Eb/Gb/Bb) to the E minor (E/G/G) quarter note chords for some players; a
reverse shift simultaneously by other players of the E minor to the Eb minor chords. For
instance, the flute alternates between Line 1 register Bb to B, Bb to B in Bar 1. Clarinets
plat the Eb/Gb quarter note dyad to E/G, repeated same bar. However, harp I plays the E
minor arpeggiando [actual treble clef quarter notes Line 1 E/G/B, Line 2 E/G/B/E (e)]
creating a dissonant effect or polychord against the Eb minor sound of the woodwind.
After a quarter rest, harp II plays the Eb minor quarter note chord, again establishing a
close polychord dissonance against the woodwinds E minor sound.
In Bar 2, vibe I plays Line 1 register B to Bb half notes up to (Bar 3) Line 2 E to
Eb half notes. In Bar 3, sordini horns I & II play pp crescendo the Eb/Gb quarter note
dyad to the E/G dyad (repeated same bar) while horns III & IV play descrescendo the
G/B to Gb/Bb dyads. Also in Bar 3, the bass clarinet plays forte the F whole note
crescendo up to (Bar 4) the Db dotted half note. After a half rest in Bar 3, the oboe plays
B (b) half note tied to next bar, then the Bb half note. Strings join in starting in Bar 5.
Cue # 1563, The Man (sometimes titled The Men in the Log Books due to a
typo error) is described in Library X, Reel 56-D: Sketch, 1563 (take 1): soft static
suspense, sense of loneliness. Largo in 3/2 meter, six bars in length. It ends with the
bowed tremolo pont (ponticello) of the strings.
Cue # 1564 (The Door) is described as: Dark lonely static Bg; elements of
suspense and fantasy.
Cue # 1566 (The Telephone) is described as: Dark lonely Bg; dark heavy
chord at end; fantasy elements. Lento in 3/2 time. Actually there is no dark chord at
the end of the seven-bar cue, simply the vibe and basses sff on the F dotted whole note.
Cue # 1575 (The Bicycle) has a suspenseful motion figure played out in the
form of a delayed triplet ostinato. Allegro pesante in 3/8 time, the strings play sff Line 1
register C# dotted 8th note to E 16th down to Bb 8th (delayed triplet) played through Bar 4.
The English horn plays the G quarter to E 8th notes; the bass clarinet plays the B quarter
to Bb 8th notes through Bar 2, then B quarter to Bb 8th notes in Bars 3 and 4. In Bar 5,
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strings play the delayed triplet on notes D-F-B through Bar 8. The Log Book describes
the cue as Soft intense chase.
22
M-12 Parkhurst Leaves 8 bars.
M-13 Someone Aboard 13 bars.
M-14 The Lab 3 bars.
M-15 The Flower Shop 8 bars.
M-21 Jarrett Slugged 14 bars.
It is speculated that Jarrett is the name of the main character (series star).
Reference books do not mention the unsold pilot show House On K Street, but there is
reference to a Jarrett of K Street starring (I believe) Dean Jagger. Moreover, is it
possible that Sam Gallu produced two pilots of the same show? This is not unheard of.
A famous example of this is Gene Roddenberrys two pilot productions of his popular
Star Trek series. NBC executives did not totally approve of the first pilot show (starring
Jeffrey Hunter) but had faith enough in the qualities of the show and the producer to
sanction a second pilot (now starring William Shatner as the Captain of the Enterprise).
Apparently the Herrmann-scored first pilot show of House On K Street was not approved,
and Sam Gallu produced the second pilot composed by Leith Stevens. Unfortunately,
that second pilot did not succeed in attracting a network to pick it up as a series. No
known 16mm or 35 mm copy of either pilot has surfaced.
However, there were a few instances in which the CBS Music Library tracked
portions of the score into later shows, most notably Twilight Zone. This is interesting
since no part of the 11 page score (written in ink) was officially included in the Log
Books. No mention of the 15 cues were listed, especially Library X (the year/season
when the score was composed). However, apparently the music editor (Gene Feldman)
knew about the score and liked it enough to take advantage of the recorded tracks and
insert them in at least three known instances. That fall of 1959, the first cue (Fade-In)
was used twice in the same episode of the Twilight Zone titled One For The Angels
starring Ed Wynn (playing an old street sales pitchman trying to outwit Mr. Death). The
Fade-In cue was specifically used to musically represent Mr. Death.
The cue is only four bars in length, eleven seconds in duration. Instrumentation: 8
horns, 3 Pos, 2 tubas, 2 timp, cymbals, and bass drum. The orchestra performs tutti the
first two bars, horns V through VIII through Bar 3, finally horns I-IV soli in Bar 4. The
bass drum beats sff a quarter note, and cymbals crash ff a whole note. Timp I is trill roll
on the B whole note f > pp; timp II rolls on F# below. Tuba I plays the F# whole note
tied to half note next bar; tuba II sounds the B in the Contra-Octave register. Pos play sff
> pp the D/Gb/Bb whole notes tied to whole notes next bar. Horns V through VIII are
stopped on whole notes B/D/Gb/Bb through Bar 3 sff > pp. Horns I through IV are
sordini also playing that chord but being the last to fade-out (extending soli into the
fourth bar whole notes, held fermata). Herrmanns choice of chord construction is
unusual. It has the sound of the B min Maj 7th (B/D/F#/A#) but it is curiously written
enharmonically (for the higher two notes) as B/D/Gb/Bb.
There was only one episode of Have Gun Will Travel that tracked portions of
several cues from House On K Street titled Ransom, airdate 6/4/60 (available in VHS
format from the Columbia House Video Library). It used portions of The House (the
horns soli section), Stones House, and Finale. The Finale cue was also used in a
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Rawhide episode titled Incident of the Devil and His Due, airdate 1/22/60. It was used
twice in that episode, listed in the Performance Analysis cue sheets as cue 27 and cue
38.
Lento in C meter, the Finale cue has Timp I rolled on the Bb whole note tied to
whole note next bar, while the tubas play the Bb whole notes (Contra-Octave register for
tuba II; Great Octave register for tuba I) tied to half notes next bar. In a steadily rising
half note triadic progression, the Pos play pp crescendo p the Db augmented (Db/F/A) to
Eb minor (Eb/Gb/Bb) half note chords to (Bar 2) F minor (F/Ab/C) to F# minor
(F#/A/C#). In Bar 3, timp II plays the F trill roll whole note tied to next bars whole note.
Tubas play the F whole notes tied to half notes next bar. Meanwhile, the Pos continue
the half note chord progression of Eb minor to F minor to (Bar 4) F# minor to A minor
(A/C/E). Horns V and VI join in also in Bar 3 with half note dyads Gb/Bb to Ab/C to
(Bar 4) A/C# to C/E.
In Bar 5, Timp I rolls the Bb whole note pp crescendo fore to the half note in Bar
6. Tubas play the Bb whole notes tied to half notes next bar. Pos continue the
progression with the Ab minor (Ab/Cb/Eb) to A min (A/C/E) to (Bar 6) the Bb minor
(Bb/Db/F), followed by a half rest. Horns I & II join in (with horns V & VI) in Bar 5,
and together they play the Pos line of chords, except that the horns continue on with the
progression at the end of Bar 6 with the D minor (D/F/A) half note chord rinforzando tied
to whole notes in the final bar (Bar 7). The vibe strikes sff on the D minor triad at the
end of Bar 6 (let ring into Bar 7), and the cymbals also crash a half note there. In Bar 7,
timp II is rolled on D whole note while tubas sound the D whole notes. Pos play sff the
unison small octave register D (d) whole notes.
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# 2068 X Farewell 11-78-D Box 89
Herrmann next composed for CBS in July 1957 the sci-fi episode of Twilight
Zone titled The Lonely, airdate 11/13/59. It starred Jack Warden as James Corry, a
likeable man sentenced to a most unusual form of solitary confinement: being stranded
alone on an asteroid millions of miles from Earth.
The first cue is # 2058, Twilight Zone Theme, 8 bars in length, 40 seconds in
duration. The difference between this version and the first (cue # 1561) is the
instrumentation. There are now two vibes instead of one, the addition of three C
trumpets and 3 Pos and Hammond organ, and the absence of horns, woodwind and
strings (conforming to the instrumentation for this specific episode). Curiously, however,
this theme version was not used for the episode. Instead, the music editor resorted to the
original Twilight Zone theme (and instrumentation). If you listen closely to the video
(vhs or dvd), you will notice the bad-editing job since the first bar was deleted rather
clumsily. You hear the woodwind and strings in the opening theme but not again during
the episode (again, because the older version was used instead of the newly composed
version utilizing new instrumentation). So, for some reason, the newly composed
Twilight Zone main title version for this episode was rejected in favor of the original
(probably in order to keep the continuity of the same-sounding music for every episode
that season).
You can, however, hear this rejected rendition in track #29, Disc One, of the
newly recorded The Twilight Zone cd set conducted by Joel McNeeley. Also Lento in
C time, vibe I strikes very softly ppp on the E minor 1st inversion (G/B/E) half note triad.
After a quarter rest, vibe II strikes softly the Eb minor 1st inversion (Gb/B/Eb) half note
chord. Vibe I plays another E minor half note triad, then repeat Bar 1 next three bars.
Vibe II plays the Eb minor quarter note chord tied to quarter notes next bar (half note
value), and continues the pattern given. Harps I and II alternate arpeggiando quarter note
chords on E minor and Eb minor. In Bar 2, the trumpets in cup mutes play quarter note
triads in those chords pp crescendo. In Bar 3, the Pos in cup mutes join in. The H.O.
begins to sound mid-bar on the B (b) half note tied to half note next bar, to Bb half note.
The Twilight Zone Closing Theme (cue XII) does not have, as expected, the
cue number of # 2070, following # 2069, cue XI, Finale (Twilight Zone). Instead, cue
# 2070 is given to the first cue of the next score for Twilight Zone, Walking Distance.
The glockenspiel doubles for vibe I in The Stars. A full rundown analysis of
this score is given in the Film Score Rundowns site.
Herrmann wrote the cues on Belwin No. 19-24 line (staves) blank score paper,
Parchment Brand.
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(19) Twilight Zone: Walking Distance
Herrmann dated his next television score, Twilight Zones Walking Distance as
Aug 15/59. This date refers to the start date since he notated it on the first cue as well
as the prior title page. The airdate was 10/30/59 for this episode which starred Gig
Young whose intense yearning to revisit his youth and family propels him into the
Twilight Zone.
This exceptionally poignant, rich score is discussed at length in the Film Score
Rundowns site.
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# 3056-B Twilight Zone Closing Theme 11-58-D Box 111
The Eyes of the Beholder is the next CBS project by Herrmann, dated on cue I
at Aug 1960. Herrmann actually wrote Eyes (not Eye)of the Beholder on the
written score. These twenty pages of manuscript were written in ink on 24 stave blank
score paper from Casa Musicale G. RICORDI-S.P.A.-Roma.
Written for the second season of the series, and as part of the sequence of the total
work, Herrmann first composed cue # 3055, CBS Fanfares, a series of six-bar cues
with six alternate last two bar endings. Allegro brillante in 2/4 meter, the CBS logo
fanfare is played ff by the trumpets and horns. Instrumentation is the same as the New
Twilight Zone Theme and the Eye of the Beholder score: 3 C trumpets, 4 horns, 3
Pos, 2 tubas, timp, cymbal, 2 harps (vibes and chimes were not used in this cue). While
the timp is trill rolled on C, the trumpets and horns plat the theme on the C major(C/E/G)
dotted 8th note chord to the C major 16th chord to the A minor (A/C/E) quarter note chord.
Repeat next bar. In Bar 3, they play 8th note chords C major/A minor/C major/D major
(D/F#/A). Bar 4 was deleted in the version aired repeatedly on CBS. Then we see the
Version I ending that was used on CBS of rinforzando C major to rinforzando D major
quarter note chords to (final bar) the E major (E/G#/B) half note chord sff, held fermata.
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Alternate Main Title # 2). You can also hear a re-recorded version on track # 1, Disc
Two of The Twilight Zone two-cd set conducted by Joel McNeeley.
In Herrmanns piece, Allegro maestoso in Cut time, the sordini trumpets play ff
pesante the D (d) dotted half note to D quarter note to (Bar 2) D half to Eb half notes to
(Bar 3) D whole note tied to whole notes next bar. In Bar 2, sordini Pos sound the Ab
major 2nd inversion (Eb/Ab/C) whole note chord to (Bar 3) the D major (D/F#/A) whole
note chord tied to next bar. Vibes also play those triads an octave apart.
Next Herrmann wrote the Twilight Zone Theme (2nd Revision). This cue was
of course also rejected in favor of Constants rather jazzy, contemporary theme. You can
hear it in the aforementioned Anniversary four-cd set in Disc One, track # 20. Although
not used as the new official opening title, the CBS Music Library nevertheless used it
occasionally. A notable example was in The Howling Man episode of Twilight Zone
which, interestingly enough, aired the week before The Eye of the Beholder. You hear
the music as a gullible stranger releases the prisoner from his cell unwittingly. Once
released from the holy staff holding back the cell door, he quickly transforms into the
devil as he strides down the corridor of the monks castle. This cue is much like the
original theme of the first season utilizing the same chordal shift of E minor to Eb minor.
We find cup-muted trumpets playing sfp < ff the E minor quarter note triad to the Eb
minor 8th note chord (followed by an 8th rest). Repeat same bar. The Pos, however, play
the Eb minor to E minor, again establishing a dissonant effect of a polychord clash.
Next Herrmann composed the New Twilight Zone Theme (Closing) which is an
expanded version of the Opening theme. You can hear this cue in the McNeeley re-
recording, track # 41. Once again, an analysis of this score is provided in the Film Score
Rundowns site.
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# 3759 VI Fight By Fire ? Box 112
Herrmann next composed the first of three original scores for the popular western
series Gunsmoke starring James Arness. The score is Kitty Shot (airdate 2/11/61)
composed Oct 3/60 as the starting date notated on the cue I title page. The episode
starred George Kennedy as fugitive Jake Bayloe who shot Kitty at the Long Branch with
a stray bullet. Much of the story depicts Marshall Dillons trek after the bank robber.
Very little dialog is present, affording Herrmann a marvelous opportunity to score
suspenseful travel music. It is considered by many as the best of the three Gunsmoke
scores, available in vhs video from the Columbia House Video Library, cassette # 14153
(four episodes starting with No Chip).
The CBS-TV Music Editoral sheets dated 9/23/60 describe the first cue (right
after Kitty is accidentally shot) as M-1512. At O FT (zero feet), 0:00, Music startsAs
he grabs the money on the bar and runs out to the left. At 1-15 FT (0:01 1/3 sec), Exit
to left. CAM moves in on bartender and Chester who is just sitting up. At 4-0 FT (O:03
1/3 sec), He sees Kitty unconscious just behind them.
The next cue (Search for Bad Man) is described as M-1513: Matt leaves Docs
office, leaving Chester to help out. Door closes behind Matt. At 0 FT (0:00 sec), Music
Starts-On Center of Dissolve from above scene to-Ext. Day-Ext. Long shot of matt rising
(quick walk) at top of ridge
The cues were never used later as part of the CBS-TV Library of stock music.
Indeed no mention of this score exists in the Log Books, and even the location of the Reel
(s) of this score were unmarked on the written score itself.
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# 3766 I Two Riders 12-78-E6 Box 77 & 112
Harriet (starring Suzanne Lloyd) is the story of revenge for the death of a father
killed by a gunman out in the prairie. Harriet escapes and walks to Dodge, befriending
Chester. The final cue is dated by Herrmann as Oct 23/60. The score is fourteen pages
in length, written on 24-stave manuscript paper by Casa Musicale G. RICORDI.
Instrumentation: Flute, oboe (english horn doubling), 2 clarinets (bass clarinets
doubling), 1 horn, harp, 4 violins I, 4 violins II.
The CBS Log Books (Binder # 48), Library XII, describes cue I Two Riders as
follows: Take 4, 78-E-6, Ominous plodding motion, :58. Moderato assi in C meter, the
harp plays sff on B (BB) acciaccatura (grace note) up to B (B or Great Octave register)
whole note (L.V). Repeat next three bars. Bass clarinet I plays cres-desc descending
quarter notes F#-D-B back to D, repeated through Bar 5, while bass clarinet II plays B-G-
E-G. At the end of Bar 1, the English horn plays sff the B 8th note up to (Bar 2) the F#
dotted half note. At the end of Bar 2, the stopped horn plays the B 8th note up to (Bar 3)
the F# dotted half note. Then sordini violins play Line 2 and 3 register D/F#/D/F# half
notes to E/G#/E/G# half notes to (Bar 5) D/F#/D/F# whole notes.
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(23) Gunsmoke: Tall Trapper
Herrmann next composed the third Gunsmoke episode, Tall Trapper (sometimes
referred to simply as The Trapper), dated Nov 20/60 on the title page of the thirteen-
page score. Its airdate was 1/21/61 and it starred Tom Reese (he also starred in
Harriet) and Strother Martin.
Unusual for Herrmann up to this point (but becoming more common in the
following years), the cues were not given cue titles but instead just Roman numerals I
through XV.
Although the time-line cannot be verified at the present, it is likely Herrmann next
composed the Main Title and End Title for the short-lived CBS series, The Americans.
The first episode, Harpers Ferry:1861 aired 1/23/61; the 17th (and final) episode, The
Inquistions aired 5/15/61. The series regulars included Darryl Hickman and Ben
Canfield, and the series context was the opposing sides of the American Civil War. One
episode is currently known to be in circulation among collectors, The Gun (episode #
11, airdate 4/3/61), starring Susan Oliver and Jack Elam. Jeff Alexander composed the
music. All 17 episodes are available on 16mm prints at the Library Of Congress. It is
unlikely that Herrmann composed an original score for any of the episodes, but this has
not been verified as yet.
The written score to Herrmanns Main and End Titles have not been located at the
present, nor do the Log Books mention them. Upon hearing the music, it is interesting to
note that part of the theme was self-borrowed from his Walt Whitman cue, Suspense
Processional No. 4.
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# 3991 IV Dog Gone Box 121
Herrmann next composed the Little Girl Lost episode of the Twilight Zone,
dated Feb/62 on the title page. Airdate was 3/16/62. Instrumentation includes the
following:
4 harps
IV = fl-bass fl-piccolo
Viola damour
According to a Log Book sheet, the music was recorded in Paris on Tuesday,
March 6, 1962 starting at 9:30 am. The violist was at the near right of the conductor; the
harps on the near left; flutes in front; vibes located on the far left. Another document
stated as follows: Flute and harp mikes a bit farther away from instruments than normal.
Lights on the music stands.
A reference is notated on the title page: V. Majewski. Apparently this was the
noted violist who had performed for various classical LP recordings at the time.
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M-2112 II Tina Talks Box 137
Dated 9/20/63, Herrmann next composed for CBS the Living Doll episode of
Twilight Zone (airdate 11/1/63 in the 5th season) starring Telly Savalas with a decided
dislike for talking dolls! Herrmann did not write a Twilight Zone score in the 4th season
when it became an hour-long series for that season only.
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(27) Twilight Zone: 90 Years Without Slumbering
Herrmann next composed his final original score for Twilight Zone titled 90
Years Without Slumbering (airdate 12/20/63) starring Ed Wynn. Herrmann based this
score in part inspired by the subject matter: the old mans obsession with his
grandfather's clock needing to be wound up every other day (or he will die if the clock
stops). The Ed Wynn character even sings the lyrics to the popular song Grandfathers
Clock (composed 1876) , words and music by Henry Clay Work (1832-1884).
Herrmann based a few of the cues on this song; especially cue XII (just before the
Finale).
The score (dated 10/29/63) is twelve pages in length, written in ink on 14 stave
(two 7 stave blocks per page) manuscript paper # 329 Pacific Music Papers.
Instrumentation: flute, oboe, 2 clarinets, bass clarinet, harp, and vibe.
The only known episode of the series to be aired in recent years was Go
Down, Moses (episode # 6, original airdate 11/1/63) starring Ruby Lee, Brock
Peters, and Ossie Davis, a story about the Freedom Train of the slaves escaping
to the North. It was aired twice by TV-Land on cable television during Black
History week in January.
The episode Herrmann composed for was aired a week prior (10/25/63)
titled The Story of Nathan Hale, starring Torin Thatcher and John Anderson.
However, the title given on the written score is Nathan Hale (Moment of
Crisis), production 1510. Moreover, it is curious to note that a cue sheet of Prod
# 1510 (also dated 10/25/63) gives the title of the episode as The Secret. This is
34
quite odd considering that the first five cues of The Secret are tracked CBS
Music Library cues, as follows:
The sixth cue is the Great Adventure Theme, Main Title 1:00 by
Richard Rodgers. Then cues # 7 through # 25 are Nathan Hale cues # 2 through
20. The cue sheets cue # 26 is the Great Adventure Theme, End Title :40 by
Richard Rodgers.
Next for CBS, Herrmann composed the 8th season premiere of Rawhide
(starring the young Clint Eastwood) titled Encounter At Boot Hill, airdate
9/14/65. The episode starred Simon Oakland as a corrupt sheriff, and Jeff Corey.
Only twelve episodes of this last season of Rawhide were produced, but
noteworthy composers such as Herrmann and Hugo Friedhofer contributed
original scores.
Herrmanns written score to this episode has not yet been located in the
CBS Collection, but according to Recording Logs held in Binder 57, the music
was recorded August 26, 1965 at Studio City. The session started at 1:30 pm.,
and the players were dismissed at 4:36 pm. Bernard Herrmann was the
conductor. The orchestral manager was H. Berardinelli; the mixer was Ted Keep.
The session was recorded in mono, Reels 27A, 27 B, 28 A. The episode is
available in vhs format from Columbia House Video Library.
35
Instrumentation: 3 english horns, 3 bass clarinets, 3 bassoons, 3 Pos, timp.
No cue titles were written, simply Roman numerals next to the inserted Boot
Hill designation on the Recording Logs: Boot Hill I through Boot Hill XXII
(Finale).
I Dancing Box 43
IV Crown Box 43
V Trouble Box 43
VI Gambler Box 43
XV Fog Box 42
36
XXI Suitcase Box 42
The last known score Herrmann wrote for CBS was the Cimarron Strip
episode (# 18 of only 23 episodes) titled A Knife In The Darkness, airdate
1/25/68. The 90-minute series starred Stuart Whitman as Marshall Jim Crown of
the 1880s Oklahoma Territory. Noted science fiction writer, Harlan Ellison,
wrote the screenplay (starring a young Tom Skerritt) about Jack the Ripper set
loose, not in London, but in the American Old West!
There are 22 cues, each given a cue title besides a Roman numeral and
also another identifying cue number for the Cimarron Strip series. The cues
therefore run from I (CIM 188) through XXII (CIM 208). There is
approximately 39 minutes of music. The most distinctive feature of this score is
the unusual instrumentation (even for Herrmann!): 4 bass clarinets, contra-bass
clarinet, 4 bassoons (Fags), contra-bassoon (C.F.), 2 harps, and 8 CB
(contra-basses). The autograph score is held in Box 42 (cues XIV to XXII) and
Box 43 (cues I to XII, or the first 28 pages) within the CBS Collection 072 at
UCLA Music Library Special Collections. The score was completed (dated by
Herrmann at the end of the final cue) on Dec 16/67.
NOTE ON OBSESSIONS
Before leaving the CBS-TV section of this paper, mention should be made
about an obscure 1969 film, Obsessions, directed by a Dutch director named Wim
Verstappen, co-written by Martin Scorsese. The CBS Music Library was tracked
into the film at Herrmanns suggestion since he did not wish to contribute an
original score (and no doubt the low budget of the film made Herrmanns direct
services unreachable).
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Western Suite: cue # 455 The Ambush
Outer Space Suite: cue # 1009 III Signals [Oddly mixed with second
track of timp beats]
The most frequent use of CBS Music Library tracks composed by Bernard
Herrmann were for the most popular CBS-produced series:
Rawhide (1/9/59-1/4/66)
The Fugitive (9/17/63-8/29/67) was actually aired on the ABC network but
utilized the CBS Music Library tracks.
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Great Adventure (9/27/63-4/23/65)
Playhouse-90 (10/4/56-9/19/61)
Pursuit (10/22/58-1/14/59)
Suspense (3/25/64-6/24/64) Sebastian Cabot was the host for this short-
lived filmed reinstatement of the series since it last aired live in 1954. ASCAP
lists at least four episodes containing Herrmann music: I, Bradford Charles
(starring Victor Jory) ; I, Buck Larsen (starring Vic Morrow and James
Whitmore) ; I, Donald Roberts (starring James Daly), and I, Lloyd Denson
(starring Ralph Meeker).
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so the tracks used were exclusively from 20th Century Fox feature films Herrmann
composed. BMI statements held at UCSB state that between 1960-1967,
Herrmann collected $2, 958 in royalties; between 1967-1968, he collected $4,057.
Daniel Boone (9/24/64-8/27/70) starring Fess Parker as the folk hero. The
series was aired on NBC, produced by 20th Century Fox (utilizing Fox feature
film tracks of Herrmanns such as Journey To The Center of the Earth).
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Richard Boone Show was a short-lived and unusual dramatic anthology series
whose 24 episodes were aired by NBC (September 24, 1963 through March 31,
1964) featuring a repertory cast playing no continuing roles. Filmed at MGM
studios, the series was a Mark Goodson-Bill Todman production.
The pilot show for the series, Statement of Fact was aired twice. At the
conclusion of episode # 17, First Sermon (1/28/64) Richard Boone introduced
his company of actors and then told about next weeks televised play (airdate
2/4/64) , a repeat of Statement of Fact which, Boone stated, participated in the
International Television Festival at Monte Carlo. Boone added that the show was
invited to participate in the festival at Cannes and he chooses to send Statement
of Fact as the representative episode. The episode was written by E. Jack
Neuman, and directed by Lamont Johnson. Boone played Chris Dale, Chief
Trial Deputy for the District Attorney for Jackson County. Dales goal was to get
a taped statement of fact (confession) from axe murderess Ellen Randall Dudley
(played by Bethel Leslie). As the show progresses, Dale painfully becomes more
and more aware of how Mrs. Dudleys estrangement towards her husband she
murdered is remarkably similar to the estrangement Dales wife feels towards
him.
The written score is presumed lost or even discarded by MGM, but this
author is investigating the matter further. Herrmann composed fourteen cues
which are played solely by the strings and harp. The private issue LP The T.V.
Music of Bernard Herrmann (CSR-301) includes several original tracks from this
episode on Side Two. Side One features the complete tracks to The Last Grave
at Socorro Creek episode from The Virginian. Side Two also contains cues from
the Death Before Dishonor and A Tough man To Kill episodes that Herrmann
scored, as well as Henry Mancinis theme to the series.
Cue I is an agitato piece in C time with the low register strings playing
dramatic 16th note staccato figures not too dissimilar to The Pad & Pencil cue of
North By Northwest. The music accompanies the opening scene of a sensational
headline of a newspaper declaring Axe Murderess Seen; Arrest Expected Soon.
The next cue could conceivably be titled The Cigarettes as Mrs. Dale
gives Chris her cigarettes before he leaves to see the axe murderess held in
custody. Next is the Titles music as Christian Dale and his associate (played by
Ford Rainey) ride to the county jail. Then we hear a short Mrs. Dudley Waiting
cue just before the sponsors commercial break.
Cue 5 would be the Lead-In and Introduction short cue. Cue 6 could be
titled Tonight! as Dale yells at Mrs. Dudley. After another commercial break,
we soon hear Is that Your Wifes? cue and then Are You Married? After a
sponsors commercial, cue 9 is immediately heard, tentatively titled Sheriff
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Waiting, played by bowed tremolo strings. The next five cues are heard in rather
quick succession as the final act of the episode is now played.
This was the third episode of the series that has very little music in
comparison to the other three Herrmann-scored episodes. Once again, the
instrumentation is solely strings and harp.
Cue I is the scene opener which shows the New York Chronicle headline,
Murder Foiled: American Hero Saves Life of French General. Then the scene
cuts to the Perry White figure of the Chronicle (played by Lloyd Bochner) who
shortly instructs the Bethel Leslie character to track down Henry Fel Shannon and
do a special feature on this mysterious oddity that people want to know more
about. If she can take surreptitious photos, then thats even better, and it may win
her the Pulitzer Prize. The second motive is to try to hire him to save the life of
Joey Wilson just being released from state prison. Joey has info on Murder
Incorporated and it is believed that the mobsters may indeed kill him unless
Shannon can intervene. The second cue is a short one conveying the reporters
frustrated resignation to the job that she feels out of place in doing. Then the
episode goes to the sponsors break,
Cue 3 is the Titles music featuring the theme of the episode, repeated
several times later on. The scene is a slow pan of Calebs Gentlemen Club
where the entrance door slowly opens. The gentlemen at the bar are shocked to
see the Bethel Leslie character (calling herself Miss Jones) entering the mens-
only club. Mr. Caleb (played by Harry Morgan) is greatly displeased. She hands
him half of a thousand dollar bill that she wants Caleb to give to Mr. Shannon
right away.
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Cue 4 could be called The Elevator as Caleb descends on a secret
elevator to the living quarters of Henry Fel Shannon. The music is a nice pesante
slow piece in C meter of the timp beating repeated pitch quarter notes as two
different woodwind choirs play the motif (dotted half to quarter to next bars
whole note).
Cue 5 can be called You Know Nothing as Shannon brisks her out at the
conclusion of a long scene, telling her, You know nothing about life. You know
even less about death. Cue 6 is a rousing Grand Central Station I piece, again
not unlike something you might hear in North By Northwest, such as The
Airport cue. Also not unlike that Hitchcock movie, there are long scenes (and
cues) involving a train, both at station and enroute. Act IV shows Shannon, Miss
Jones, and Joey departing the train out in the high desert. The location is the
lower Sierras somewhere along Highway 395 near Lone Pine. This location
(including Alabama Hills) was used extensively in the Richard Boone series,
Have Gun Will Travel. Cue 11 (after the commercial break) can be titled
Waiting as Shannon and Joey wait at a shack near a water tower reservoir
before the mobsters (lead mobster played by Warren Stevens) arrive. The longest
cue of the score, cue 15 (tentatively Explosions and Battle), was featured in that
LP mentioned earlier. Cue 16 is the Finale as Shannon and Miss Jones decide to
go to Mexico together.
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Instrumentation: strings, harp, vibe, xylophone, timp. The episode starred
Ray Milland. Cue 3 is an agitato piece not unlike something you would hear in
Fahrenheit 451. Portions of this score (along with Waters Edge) was used as
the underscore for the All About The Birds Making-Of featurette in the dvd
version of The Birds.
Instrumentation: strings and harp. This episode starred Robert Loggia and
Kathleen Freeman.
(4) Bob Hope Chrysler Theatre: Seven Miles of Bad Road (10/18/63)
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Instrumentation: woodwind (such as the English horn/oboe), horns, harp,
strings. The episode starred James MacArthur as a scheming suitor of Gloria
Swansons daughter.
Instrumentation: trumpets, Pos, timp and snare drum. Very martial score
with a particularly rousing cue when the middle-aged men awkwardly go through
their training maneuvers. The episode starred well-cast James Whitmore.
(12) Alfred Hitchcock Hour: The Life & Work of Juan Diaz (10/26/64)
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score utilized two harps and vibes for most of the show, erupting at its final act
with fully contrasting, blaring brass.
(19) Bob Hope Chrysler Theatre: The War and Eric Kurtz (3/5/65)
This hour-long black & white series lasted only 13 episodes between 9/17/65
through 12/10/65 starring John Larch as the captain of a World War II convoy
freighter, and John Gavin as Commander Dan Talbot. A two-stave reduction of
the Convoy Theme is held at UCSB Special Collections. The seven-note theme is
played by the horns: rising 16th notes B-C-E-G in the grace bar to (Bar 1) the
triplet value B quarter down to E 8th notes up to the A dotted half note tied to half
note next bar. After a response figure from the altri orchestra, the horns reap this
figure of rising 16th notes A-C-E-F to (Bar 4) triplet value A quarter down to C 8th
up to the G dotted half note tied to next bar.
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Passage To Liverpool starring Gia Scala.
Felicia
Instrumentation: horns, strings and timp. This episode stars Charles Bronson as
an insecure, loner rancher often at odds with his neighbors. The lovely Lois
Nettleton plays his wife who appreciates having the Virginian (James Drury)
showing up teaching her son to rope and ride. George Kennedy also stars as a
neighbor who likes to irritate the Charles Bronson character.
Herrmann composed 32 cues for this episode. His Cattle theme that
also serves as the credits music is a noble motif played by the horns.
Instrumentation: horns, strings and timp. This excellent episode features Doug
McClure as Trampas, and stars Richard Beymer, Sherry Jackson, and Leonard
Nimoy. The story revolves around a corrupt enterpriser trying to take over a
former ghost town known as Eagle Rock, Wyoming. It was rebuilt through the
vision and hard work of Frank Colter (Beymer) and his friends, sure that the
railroad will go through this pivotal location. Leland Enterprises realizes this as a
fact and sends his hard-hearted but smooth-talking henchman, Mitch Conway, to
convince Frank to allow Lelands gambling enterprise to get a foothold. Frank is
tortured because the town needs money but Trampis and the old-timer sheriff
informs him that Leland Enterprises will corrupt the growing town. Trampis is
unsure of the situation because Mitch is an old friend that he hasnt seen in many
years.
Several cues from this score were later tracked in episodes of The
Virginian.
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Instrumentation: Organ, strings, timp and harp. This episode premiered the fourth
season of the series, starring Julie Harris playing a dual role of two sisters. It also
starred Farley Granger and Thomas Gomez. Moody, atmospheric score and story
about a mentally unbalanced, paranoid sister, the scheming of members within the
gothic household, and a murder. Reminiscent in several cues to the music in
Psycho, this is considered the best of his Chrysler Theatre scores.
This two hour tv film (as listed on the cue sheets, titling it Companions In A
Nightmare) was aired on the NBC Saturday Night at the Movies starring Gig
Young and Leslie Nielson. The four pages comprising the cue sheets do not list
accurate cue titles, if indeed Herrmann notated cue titles. Instead, descriptive
titles (sometimes repeated) are offered. For example, in Reel 1, track 2, is
Suspicious Dog which is the title again for track 12 in Reel III. Track 3 in Reel
I is Soleares Y Bulerias by Stanley Wilson (who was also the music supervisor
for the world premiere film). Reel II starts with track 6 titled Carlotta
followed by track 7, Minstrel Boy (Music Box), which is listed as
Traditional under the Composer column. Next is track 8 (Reel III) McKay
Questions Carlotta and so forth until the final track (track 37) is played in Reel
XI, Universal City Emblem by Stanley Wilson and Juan Esquivel.
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(6) Socorro-To Comm. # 1 B. Herrmann :11
All instances in which Herrmanns television and feature film music for
Universal-TV was used (tracked) would be far too daunting a task, and beyond
the scope of this paper. However, a special case was another tv film aired on
ABC February 12, 1972. This 90-minute film was Hound of the Baskervilles
starring Stewart Granger as Sherlock Holmes, co-starring William Shatner. The
music was heavily tracked with Herrmanns Universal film music, especially
Cape Fear.
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(6) VII (M203), lento in C meter. 5 bars, :12.
In Bar 7, flute I plays A down to F quarter notes to E-D 8th notes, repeated
by the clarinet in Bar 8. The harp is arpeggiando on G Dom 7th (B/B/D/F) dotted
half note chord, but spaced as G/D/F/B/D (d). In Bar 9, as the harp is
arpeggiando on C Dom 7th (C/E/G/Bb), the horns play p crescendo C/E quarter
note dyads to Bb/D dotted quarter note dyad to G/Bb 8th to (Bar 10) the C/E
quarter note dyad again to Bb/D half note dyad tied to dotted half notes next bar,
held fermata.
[Note: As of this revision date of late September 2001 , I have not yet
received communication from Universal to substantiate Herrmann-scored shows,
especially Convoy, nor am I physically allowed to research the scores.
Unfortunately, what it does substantiate is that Universal policy is not researcher-
friendly, but perhaps this will change in time]
* * * * * * * * * * * *
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